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The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
|The SD1 has built-in pop-up flash with a guide number of 11. Here it's judged exposure and white balance pretty well.
Perhaps more useful to advanced users is the flash's ability to control Sigma's EF DG Super range of units wirelessly.
The SD1 provides a number of preset colour 'looks' that provide a useful range of options. The default 'Standard' option is rather muted (but accurate); if you want punchier output you can switch to 'Vivid' or 'Landscape' (which offers a slightly warmer rendition). Sigma also provides Monochrome and Sepia modes, but mysteriously doesn't allow you to use them when shooting RAW. Sigma Photo Pro offers the same set of colour options for RAW users, but (rather eccentrically) Monochrome appears only as a White Balance option, and Sepia is completely unavailable.
The SD1's low ISO image quality can be intoxicating, but the camera requires perhaps more than its fair share of care and attention to maximise the quality of its output. Its biggest problems are its slightly twitchy evaluative metering system and unimpressive high ISO image quality.
One of the first things we noticed during real-world shooting with the SD1 was a disturbing predisposition towards overexposure. Press play and your images' histograms will often show extensive highlight clipping. Clearly Sigma recognized this as a problem from an early stage, and has progressively tweaked the metering with multiple firmware updates. But the evaluative metering remains strongly-linked to the selected autofocus point, which means that if you focus on a dark area of the scene it will overexpose.
The example below illustrates how the evaluative metering depends on the selected AF point with a contrasty scene, placing the AF point successively lower down the scene. We've shown screenshots from the camera to show both the active AF point and histogram, and the associated exposure clipping warning, alongside the resultant image files.
|Camera screenshots||Resultant exposures|
What's perhaps most notable here is that, in this case, using the center AF point gives about the closest thing you'll get to a 'correct' exposure, with just a little clipping of highlights and good shadow detail. Selecting an AF point in the top row results in underexposure and blocked shadows, whereas selecting one in the bottom row results in considerable highlight clipping (and as this was shot at ISO 100, the lost detail can't all be recovered from the Raw file - click here for a conversion with -2 EV compensation).
Arguably this should be considered a characteristic of the camera rather than a fault - it's the kind of thing that you'll get accustomed to once you've used the camera for while - but given the inherent characteristics of digital capture, we'd generally prefer to see pattern metering protect the highlights a bit better. Naturally, if you prefer to shoot using a more-predictable metering mode such as centre-weighted average, it's not a concern. And if you shoot at ISO 200 or higher, you get an extra stop of highlight data in your Raw files, which negates the problem considerably.
While the SD1 is excellent at low ISO - 100 to 400 - above this its image quality quickly deteriorates, and by ISO 1600 it has serious problems, with unsightly purple-and-green colour blotches in the shadows making many images practically unusable. This is also where the look of the camera's JPEG and Raw images diverges most substantially, as if Sigma isn't even sure about the best way to handle the files.
The example below was shot at ISO 1600, a point at which we'd expect any modern APS-C (or Micro Four Thirds) camera to be entirely comfortable. But the SD1 is seriously struggling. The JPEG and Raw + SPP output attempts to deal with the image noise in somewhat different ways, but neither is truly successful.
|ISO 1600, camera JPEG||ISO 1600, Raw + SPP 'to taste'|
|100% crop||100% crop|
|50% crop||50% crop|
The row of 100% crops reveals a significant difference in processing - the JPEG shows all sorts of problems, with low saturation, colour bleeding from the tower to the sky, and large 'grains' of noise. The Raw file handles colour better, and has much finer noise grain in evenly-toned areas, but SPP's noise reduction gives vertical streaking that emanates from from all of the (many) vertical features in this image. The lower row of 50% crops reveals the low-frequency green and purple chroma blotching that seriously bedevils the SD1's high ISO output - the JPEGs appear to reduce saturation to make this less visible, but without much success.
As is often the case, the SD1's high ISO problems are accentuated under artificial light sources, which tend to be prevalent in low-light situations. The camera's also not helped by Sigma Photo Pro's noise reduction algorithms, which don't work terribly well and can leave strange artefacts of their own (such as the vertical streaking seen in the example above, that's more obvious if you download the full-size picture). Overall we'd have to say that the SD1 should be considered a low ISO camera only, as any other current APS-C or Micro Four Thirds camera will do a better job at high sensitivities.
|Sigma SD1, 30mm F1.4 EX DC HSM, 0.4 sec F8 ISO 100|
|Sony SLT-A77, DT 35mm F1.8, 1/4 sec F8 ISO 100|
|Canon EOS 5D Mark II, EF 50mm F1.4 USM, 0.8 sec F13 ISO 100|
|Leica M9-P, Summilux-M 50mm f/1.4 ASPH, 1/4sec F11 ISO 160|
|Pentax 645D, smc D-FA 55mm / 2.8, 1.6sec F16 ISO 100|
Sigma's new CEO, Kazuto Yamaki has announced the re-branding and re-pricing of the company's flagship camera. The SD1 DSLR will now be know as the SD1 Merrill, in honor of Dick Merrill, inventor of the Foveon sensor technology on which it is based. The price will also be revised, falling to what should be a street price of around $2,299, which Yamaki attributes to work conducted to reduce production costs of the sensor. Despite these changes, his letter promises the performance and characteristics of the sensor have not changed. To avoid disappointing existing SD1 customers, Sigma will offer a support program with 'points' that can be exchanged for Sigma products.
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|My Garden by Mitchmeister|
from The Secret Garden
|Crowded Skies by Rushlin|
from Seven types of aircraft - lighter than air
Sigma has said it will create a full-frame Foveon camera and will adopt the Leica L mount for its system. It will be able to adapt and convert SA mount lenses to the L mount, for existing users.
Hasselblad is expanding their X System with their announcement of three new lenses: the XCD 80mm F1.9, XCD 65mm F2.8 and XCD 135mm F2.8, along with a teleconverter. The 80mm F1.9 is the fastest in the system. Get all the details and check out Hasselblad's official sample images here.
Sigma has announced the 56mm F1.4 DC DN lens for Micro Four Thirds and Sony E mounts. The compact 56mm lens becomes the sixth DN lens for mirrorless cameras and will make a handy portrait lens on both systems.
Sigma has announced the 28mm F1.4 Art, 40mm F1.4 Art, 70-200mm F2.8 Sport and 60-600mm F4.5-6.3 Sport lenses for several full frame lens mounts, including Canon, Nikon and, in the first two instances, Sony E.
ON1 has announced the impending launch of ON1 Photo RAW 2019. The new version, due out in November, brings a handful of new tools and features in a revamped interface.
Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $10,000.
Leica has announced the S3 medium-format camera – an S2 successor with a 64MP sensor capable of 4K video.
The GFX 50R is a 50MP rangefinder-style mirrorless camera. It borrows heavily from the existing 50S model but in a smaller body and at a lower price. How does it differ?
Fujifilm has announced its GFX 50R, a rangefinder-styled version of the company's GFX 50S medium-format camera. The 'guts' of the two cameras are the same, with the difference being the design, weight and Bluetooth, all at a considerably lower price.
In this episode of DPReview TV, we get our hands on Fujifilm's GFX 50R which hides a medium-format sensor in a new, more compact body. Watch to get Chris and Jordan's first impressions on image quality, video and more.
Fujifilm is adding a trio of new medium-format lenses to its G-mount roadmap. GFX owners will soon be able to get their hands on 100-200mm F5.6, 45-100mm F4 and compact 50mm F3.5 lenses. Pricing and availability have not been announced.
Micro Four Thirds users will soon get a super fast, constant aperture wide angle zoom.
Panasonic has announced it is developing two full frame mirrorless cameras: the 47MP S1R and the 24MP S1. We've been shown fairly advanced-looking but non-functional prototype cameras, and have been able to squeeze a few details from Panasonic.
Panasonic is developing a pair of full-frame mirrorless cameras that use Leica's L-mount. The S1R will feature a 47MP sensor, while the S1 will be 24MP. Both cameras will support Dual IS shake reduction 4K/60p video capture and will have XQD and SD card slots.
Leica, Panasonic and Sigma are teaming up. Expect L-mount cameras from Panasonic as well as L-mount glass from Sigma.
Ricoh has announced the development of the GR III enthusiast compact, due to ship in early 2019. The camera gains sensor-shift image stabilization and an updated 24MP sensor with phase-detection. The 28mm equivalent F2.8 lens has also been redesigned and a touchscreen added.
The 'I'm Back' is now available for a range of old film-SLRs, such as Nikon's F-Series, the Olympus OM10 or the Canon AE-1.
IRIX has announced its latest lens, the 150mm F2.8 Macro 1:1. IRIX claims the lens features 'close to zero' distortion and stands out with its 150mm telephoto focal length.
The RF 24-105mm F4L IS USM is one of four lenses to launch with Canon's new full-frame mirrorless system, and it boasts the longest reach of the range. Take a look at some of the samples we've gathered thus far as our EOS R testing continues.
Nikon's Sendai factory in the Tōhoku region North of Japan has been churning out cameras and lenses since 1971. We had the opportunity recently to visit Sendai during events to mark the launch of Nikon's new Z mount.
There's no mistaking the Nikon Coolpix P1000 – with a 24-3000mm equivalent zoom, it really is in a class of its own. It's a conspicuous-looking superzoom with one main job: getting you really close to far away subjects. We've put together a gallery showing the kind of results you can expect from it.
A new report from The Verge claims Instagram is currently testing a feature that allows users to re-share posts to their own account feeds.
GoPro has announced its HERO7 camera lineup. The updated action cameras feature new HyperSmooth and TimeWarp modes, as well as improved video and photo specs.
The latest Samsung midrange smartphone offers a super-wide-angle lens in its triple-camera setup.
The Sony 24mm F1.4 is the latest lens to join the company's premium G Master lineup. We've been shooting with one for a couple of days - here's what you need to know.
Apple released iOS 12 a few days ago and some iPhone X users are less than happy with how the new operating system has made their phones look.
Camera bag manufacturer Lowepro has introduced mark II backpacks for its ProTactic AW range with models that are said to feature an improved handling experience as well as a collection of accessories that can be attached to the outside.
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has the same lens but offers a higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.
Sony has taken the wraps off of its new 24mm F1.4 GM full-frame lens, which the company claims is the lightest in its class. Despite its fast aperture, the 24mm F1.4 is remarkably light, weighing just 445 grams (15.7 ounces). The lens will set you back $1400 when it ships next month.